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Castle Freak

Posted by On October - 14 - 2010




Castle Freak (1995)
Director: Stuart Gordon
Writers: H.P. Lovecraft, Stuart Gordon and Dennis Paoli
Starring: Jeffrey Combs, Barbara Crampton and Jessica Dollarhide


The Plot: Our story begins with an elderly woman, kept up in her massive castle all by herself. We follow her on her daily ritual as she grabs her whip and heads to the basement where we discover a beaten and disfigured man lays in wait. She proceeds to whip the man while he sobs. Taking her bloody whip with her, we watch as this woman dies in her bed. We skip forward a few days as we meet John Riley (Jeffrey Combs) and his wife Susan (Barara Crampton), who are notified that this strange woman was indeed John’s long lost Dutchess relative and she has left the castle to him. So John and Susan have packed up their bags and taken their recently blinded daughter Rebecca out to this foreign country in order to investigate the castle with the hopes of selling it as soon as possible. Inner turmoil is rife, as Susan and John are on the outs because the tragic death of their son and the vision impairment of their daughter was caused by John who had been drinking and driving with the kids in the car. He is now haunted by this horrible incident within his dreams and Susan can’t seem to forgive him. On the first night in their new castle, John overhears some howling within the castle. The sounds of a tortured man whaling can be heard and young Rebecca swears she has felt the presence of someone in her room with her when no one could have been. What will be the end result of this monster being loose within this castle?



The Review
Castle Freak is the type of movie where so many elements are mixed into the pot that there should be no question as to whether or not it will be a resounding success. Stuart Gordon in the director’s chair, paired up once again with Jeffrey Combs and Barbara Crampton for a gory and Gothic horror tale, how could such a premise possibly go wrong? I suppose its the same as cooking anything else really, when you add too many ingredients you sometimes run the risk of losing your flavor along the way. Castle Freak, in comparison to Re-Animator or even From Beyond, certainly seems to have lost a lot of that flavor that made them so well respected. Although at this point I sound fairly somber and down on Castle Freak, I will admit right now that it isn’t a BAD movie. It holds a lot of promise and there are some really interesting elements to it that almost add up to something really great but unfortunately it adheres heavily to genre convention and is buried heavily under the burden of cliche vehicles for suspense.

Full Moon productions knew exactly what they were doing when funding this project. Looking to capitalize on the cult popularity of Re-Animator, it seems as if they handed Stuart Gordon a very small budget and gave him carte blanche to do whatever he wished to do as long as he brought in the right cast. So what we end up with is a horror picture that wraps the audience up in a melodrama story about a family on the verge of collapse. While that certainly sounds uninteresting and more than a little self-serving on the part of the filmmakers as an attempt to stretch out of the confines of genre, this aspect of the movie never actually bothered me. I have to give both Jeffrey Combs and Barbara Crampton credit as they deliver two very strong performances. They show a great deal of conviction as they delve into these roles which are surprisingly three dimensional. I thoroughly enjoyed this aspect of the movie as it was a nice diversion from the average. Unfortunately for us the rest of the movie is rife with cliche content that might not overshadow the decent melodrama, but it adds a unsavory and bland atmosphere to the rest of the picture.

Full Moon titles always share that same “cheap” look in all of their films. Despite Stuart Gordon being at the helm, it doesn’t help the cheap look. The only thing that actually saves the movie from having the visual quality of something like Hideous or Head of the Family (also Full Moon titles, and admittedly campy fun) is the fantastic European location which offers some really nice architecture. There are moments throughout where the suspense really hangs on the location, sequences where Jeffrey Combs may slowly stumble down a corridor within this incredibly creepy castle helps paint the movie with a creepy bit of atmosphere. The location certainly saves the visual aesthetic of the movie, but ultimately there is little style or quirkiness to the photography. The majority of the movie relies on jump-scares and practical FX in order to bring about any horrific moments that may occasionally pop up. This normally wouldn’t be an issue, as I am of course a fan of Lucio Fulci (a man best known for these traits, to be sure) but the hodgepodge use of suspense, gothic set design and cheesy FX just didn’t seem to work for me here.

In terms of onscreen violence, Castle Freak does not disappoint! The prosthetic FX work for the most part is handled pretty well and there are a few nasty moments throughout. Breasts are bitten off, eyes are gouged out and there is one particularly brutal moment involving our castle “freak” ripping his own thumb off that really grinds its way into your mind. The freak himself, depending on the lighting, has a fairly convincing look to him. When the light hits his back just right however, you can see the wrinkles of his latex costume popping off of the actor’s flesh. It is barely noticeable however and is made up for in the fact that we see his castrated penis in up-close fashion on more than a few occasions and THAT is much more convincing… and horrifying.


The Conclusion
I am generally very torn on Castle Freak. As already stated, this isn’t a BAD movie per se but it doesn’t really engage the audience all that often. There are a couple of good performances, some decent gore and a tiny bit of atmosphere but that does not a great movie make. I give the movie a three out of five as it steps right on that threshold of being average in most respects. For fans of Jeffrey Combs, Barbara Crampton or Stuart Gordon you probably won’t want to miss this, but if you aren’t particularly tied to any of these filmmakers then you can probably skip this one.



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Cemetery Man

Posted by On October - 12 - 2010



The Plot: Francesco Dellamorte (Rupert Everett) is the local caretaker at a cemetery that operates under very different rules than what you might be accustomed to. You see, the dead do not simply rest here at this cemetery. Instead, they all seem to rise up from the grave shortly after they are buried. Francesco’s life has become an endless series of death which has turned him into a being of apathy towards life and all of humanity. His life begins to change whenever She (Anna Falchi) walks into his life. A woman who has recently lost her husband and has him buried in Dellamorte’s cemetery, Francesco is immediately smitten with her. He ultimately finds her weakness in their shared infatuation with death and soon enough the two are making love in the graveyard. When her husband comes back from the grave and bites her, their love affair is brought to an instant close as she dies shortly from her wounds. Francesco is known for his impotency and this drives the police to look for the young woman’s killer elsewhere. Now Francesco must deal with his loneliness, grief, hatred of the living and the loneliness that his helper Gnaghi unfortunately lives with.




The Review
With our Halloween Horrors continuing here at Varied Celluloid, I decided to go back to another movie that has a history with Varied Celluloid to a degree. Cemetery Man was one of the horror titles that really sold me on Italian cinema back in the early 2000’s. In fact, in the months leading up to Varied Celluloid I started trying my hand at writing out film reviews and Cemetery Man was one of the first titles I chose for the website. So, you may ask yourself “where is that review at?”. Well, the short answer is that it is safely nestled on my hard drive in a text file. The longer answer is that it was such a god awful and minuscule review (clocking in at a whopping 200 words, with the plot summary added) that even back then I was too ashamed to actually post it up. Reading through that review again is rather embarrassing. I may not be the greatest writer in all of the world, but I know I have progressed quite a bit since those days. Well, it’s either that or I’ve just become increasingly long winded.

Cemetery Man was quite simply too complex for the teenage version of myself to handle. It is a horror comedy that traverses over genres, themes, ideas and various sub-textual concepts. To be honest, I am still not as well versed in film theory as I should be and there are writers out there who could break this film down far better than I could but I will go ahead and give my best at explaining what draws me to Cemetery Man. The first thing that really strikes you about the movie is going to be the aesthetic beauty of it, there is no question about that. From the very opening shot where Soavi somehow manages this beautiful tracking/zoom shot that comes directly out of the eye socket of a skull sitting on Francesco’s desk, you know almost everything you could possibly need to know about this film: There is a fascination with death, man coming to grips with his own mortality, this will be a clever story and it will be a visually enlightening film. You can literally gather all of that from the first shot of the movie and then we follow this deathly beauty up with a very abrupt and comedic turn as Francesco, in a very nonchalant sort of way, interrupts a phone conversation he is having by shooting a zombie that had been knocking at the door. This is a horror comedy, but there is a certain amount of serious soul searching going on here as we identify with this character of Francesco who has ultimately come to rationalize no difference between life and death.

Cemetery Man teeters between the world of life and death and it at first dances between the world of reality and fantasy, before fully letting go and being engulfed in a world of impossibilities and strange interactions. Gothic architecture abounds, as we take in this exciting and strange world that Soavi manages to create around us. I simply love the set design and amazing cinematography that comes up throughout. The cemetery itself is lit at night with orange glowing candles that really don’t make much sense in a logical frame of mind, but it radiates a sort of brooding beauty. The crypt that Francesco and Gnaghi share for living quarters makes for something rather disgusting in a visual sense, but it helps bring about that feeling of isolation that these characters have endured upon themselves. Francesco himself isolates his entire world to this graveyard as he never questions what is happening around him and simply accepts. However, when he discovers love, and life along with it, he starts to let the questions flow through him as he begins to question his reality and what is taking place around him.

We identify with Francesco, we understand his plight and we enjoy his company because of how entertaining he is but his character is a haunted man. I do not think that Soavi hopes for audiences to identify with Francesco’s ideals, but instead that we realize the differences between life over death and instead choose not to close ourselves off from the world. Soavi does a fine job in handling all of these questions and ideas and never once boldly proclaims any answers, so that the film remains ambiguous enough that audiences can interpret it via their own feelings. Speaking of Michele Soavi, when you look over the films he is best known for you have to admit that Cemetery Man sticks out like a sore thumb. Without question it is his best film and certainly the best Italian film of the nineties that I have seen, but the drastic change and maturity he showed with this feature in retrospect of his other work (such as Stage Fright or The Church) is pretty amazing.

The Conclusion
Michele Soavi does a fine job in crafting a new and entirely different world for his characters. A world where Italians, Englishmen and Americans all inhabit the same town, speak English and use Lira as their common currency. It all has to do with creating a universe and making a very different reality from our own. Cemetery Man is a favorite of mine and going back to revisit it for this review was truly something special. Like visiting a old friend and finding him as interesting and warm as you had last recalled. If you haven’t seen this title, make sure to scoop it up as soon as possible because it is without question one of best Italian made genre films out there.



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StageFright

Posted by On October - 11 - 2010



REVIEW SUBMITTED BY PROF. AGLAOPHOTIS


The Plot: On an American stage, a surrealist play called The Night Owl is rehearsed by Peter Colins, a pretentious and conceited but artistically talented director. When one of the actresses, Alicia Alvarez, sprains her ankle on stage, she’s taken to a hospital for some quick treatment against Peter’s knowledge on the grounds that Peter would not let her go anyways. Once there though, Alicia and her friend Betty discover that a famous serial killer ex-actor, Irving Wallace, is being treated there. Upon seeing Alicia, Irving devises a way to escape from the hospital undetected and follow the two back to the play house. After murdering Betty, Irving disappears and the cast retreats back to their homes after the tragedy. However, Peter and his accountant Jack Ferrari devise a way to keep the rehearsal going. Desperate to make his play a hit, Peter locks a select group of his performers in the play house in order to practice a new, revised script based on the recent murder just outside the building. However, as the crew get into their new roles, Irving reveals to have holed himself up in the theater and intends to bathe the stage in the blood of the actors.




The Review
I really have to say, this is probably one of the most original Slasher movies I’ve seen in a long time. No, check that, it’s one of the most original Slashers out there! Not only in setting, but in presentation, build-up and atmosphere. I’m honestly amazed how it’s pulled off too, because Stage Fright has its immediate share of Horror movie clichés from beginning to end. It has an Escaped Mental Patient, a Final Girl (who just happens to wear all white), one Spring-Loaded Cat, two bumbling cops although they don’t really bumble, they’re just subtle comic relief, a homosexual character (who I’m pretty sure you know whether they’ll make it out or not), a main victim character you’re supposed to hate and an omnipotent killer. With all of this, you’d think this would be a run-of-the-mill Slasher movie, but there’s enough in the background, enough craft behind the cinematography, enough uniqueness in the score that makes this a unique Slasher as a whole. In fact, I think the only things this movie lacks in order to be a totally unoriginal Slasher would be actual teenage/young adult characters, T&A and the woods.

The movie has quite some build-up, though. It opens up with the play in progress and I really wish someone would adapt it to the stage because it looks 100% hilarious. What’s even funnier is how the crew to the play was probably the crew to the actual movie. The setting of a playhouse to a weirdly exploitive play all ready offers a lot of visual variety and color to the screen, but none of it would have come out that way if it wasn’t for excellent cinematography… which the movie has plenty of. The movie is chock-full of nice shots from long, dimly-lit hallways to quiet stage backdrops. There are some brilliant close-ups and angles, too, mostly of glancing eyes and parting lips. The lighting is just right: no scene is too dark and everything is lit enough so that everything is visible. I wouldn’t say the brightness detracts from the atmosphere though, because there are quite a lot of creepy and intense scenes that were very well lit. Right off the bat, I have to say that the costumes in this are very well done. The things the characters wear bring them to life and are just average enough to be believable. I totally love the killer owl costume, too, that’s a work of genius right there.

The entire setting of the movie is brought to life by a rockin’ ‘80’s soundtrack that carries touch of Demons, John Carpenter and just a hint of Labyrinth in there at times. Composed by Simon Boswell, who also composed the soundtrack to the killer Argento flick Phenomena, the soundtrack brings the movie’s feelings to life from the crazy and sleazy style of Peter’s play, the intensity of chasing after or being chased by the killer to the moment where a character follows a trail of blood to one of the survivors. The score does tend to sound a little fantastic at times like whenever there’s a pursuit in the movie the score gets so intense I found myself bobbing my head to the beats.

The performances in the movie aren’t too bad, though most of them don’t really stand out. If anything, everyone does a great job in making the characters seem realistic enough, each of them being pretty likable or detestable in their own special way. David Brandon is pretty good as a sleazy, but desperate director trying to make it as a pretentious play writer. If anything, the only part of the character I hated was his wardrobe… ech. I particularly like the Nose-Candy aspect to him, that was a nice touch. Giovanni Radice is awesome in this movie as he is in practically every movie I’ve seen him in. Here he plays the character Brett, a flamboyantly gay dancer who sort of reminds me of gay co-workers in previous jobs; as stereotypical as the character seemed, he came across pretty convincing according to my personal experiences and further more Brett was really funny (“Don’t rush me, Gloria!”).

Ever since I saw her in The Church (another Michele Soavi movie), I practically fell in love with Barbara Cupisti because she’s got a certain atmosphere to her in all of her performances. She comes across as the perfect ‘Everyday Woman Trapped in a Horrific Situation’ in the movies I’ve seen her in and Stage Fright is no exception; if I were developing a Survival Horror game and had to make a heroine for it, I’d model that heroine off of Barbara Cupisti. She sort of comes across as the typical Final Girl (and really, that’s all her role comes down to), but she’s stuck between being Virginal and Full of Attitude, tuned to make her character average enough to be relatable. When she has to struggle, she struggles with all her might, and when she’s scared, she’ll scream, but she won’t scream her head off.

I mentioned that the movie is creepy and has an atmosphere to it, but what it comes down to are the grisly death scenes. Most of the death scenes are rather brief, but appropriately gory and there is some consistency to the deaths. It does start out on a shocker when Betty gets murdered and everyone else after her just get stabbed, but the goriness picks up after the second stabbing. Plus, the first time someone is stabbed is really effective because it happens during rehearsal in front of everyone. I swear this killer knows the studio like the palm of his hand though because he knows exactly where all of the most dangerous power tools are and the perfectly places to ambush the actors.

Which is kind of what gets to me about the movie: there doesn’t seem to be much back story to everything which would easily explain some confusing aspects about the movie. Yes, Irving Wallace used to be an actor and I can buy his rather clever tactics of distraction, but how would that amount to him knowing just where to hide in the studio? You couldn’t just say he used to work there in his youth or maybe he found a floor plan in the office? As much as I loved the attic death scene, it seemed the least consistent because one minute we’re in an attic, but then a character drops down into a dark hole in the floor and it’s practically a sewer. Also, when the killer murders someone in the attic the murder weapon he uses doesn’t make a sound until we later see what he used… and it would have been noisy. There are some flops in the movie like how the stunt that injures Alicia in the beginning is clearly a dummy thrown into the air, how whenever a power tool is being used the sound is always delayed until its killing someone on-screen or how the gun near the end suddenly switches from being a 9mm to a .38! Did they use the same gun from Cthulhu Mansion all of a sudden?

What’s interesting about this movie is that the main characters and the actors playing them originally appeared a year ago in a Joe D’Amato sex film called 11 Days, 11 Nights. This included characters such as Alicia, Peter, Danny, Irving and even the hospital nurse, all played by the same actors and this movie was written by George Eastman, an actor who frequently worked with Joe D’Amato as well as Michele Soavi who appeared in some of D’Amato’s movies. What connection that movie has with this one is beyond me seeing how I have yet to obtain a copy of 11 Days; considering the back-story behind some Joe D’Amato related movies, I’m guessing this is a pseudo sequel or retelling of the original story where instead of everyone screwing around, the characters are getting killed. This method sort of reminds me of the Kenji Eno fashion of game development where he’d make a new game with a vastly different story and setting, but similar characters from the previous game.


The Conclusion
This movie ought to be a real good treat for horror fans out there. Stage Fright is a creepy little Italian Slasher with enough style and effectiveness to be a great Horror title, yet enough style and camp to be a great Halloween Party movie. As a side note, I’ll be taking a cue from this movie on cat-naming for when I get another cat… because naming a cat Lucifer is probably the best name you can come up with. That or Gustave.



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Cannibal Ferox

Posted by On October - 8 - 2010


The Plot: Our film begins with a young junkie getting out of the hospital looking for some “horse” and he heads right back to his main supplier: Mike Logan (John Morghen). Unfortunately Mike has taken off with 100k of the mafia’s money and this leads to the poor man’s death. This death ultimately leads to a police investigation at home in New York while Mike is on his way through South America trying to gather cocaine and jewels. Mike’s big plans go south however when he and his crew are jumped by a cannibal tribe. At the time that this is happening we are introduced to Gloria, who has lead her two friends down into the amazon in order to complete her anthropology thesis. It is her belief that cannibal tribes are nothing more than a myth perpetuated by white colonialists looking to scare away the populace. So she and her friends have discovered a small village that is rumored to be part of a cannibal tribe and they plan to investigate and prove these allegations false. Once they are in the amazon and meet up with Mike and Joe they discover that not only is cannibalism real but one of the tribes is now on the hunt for them thanks to something that the insane Mike Logan helped instigate.




The Review
I have been writing about cannibal movies here on Varied Celluloid since the inception of this website. In fact, when I first decided I wanted to go ahead and create the site one of my first reviews written was for the film I’m talking about today: Cannibal Ferox. I also did a write up for Cannibal Holocaust at the time, this was circa 2001-2002, and believe me neither review was very elegant. The Cannibal Ferox review was scrapped before the website actually went live and Cannibal Holocaust has since been re-written once or twice. As demonstrated by my reviews for Deep Red and Demons, first viewings can be rather tricky. Sometimes it takes distance for a movie to really settle in. Sometimes it takes gained knowledge to actually put a movie together in comparison to what else was going on at the time politically, sociologically and cinematically. Some movies may at times seem ‘bad’ in the eye of your memory, but when you go back and revisit them you discover areas that actually make the movie a new experience. When going back to Cannibal Ferox, which I must confess I hated upon first viewing, I didn’t find a truly fantastic piece of cinema that I had abandoned but I did find a movie that was not nearly as bad as I had hyped up in mind.

There were a number of issues going into Cannibal Ferox that ultimately left me feeling rather cold on the film itself. For one, I was still relatively green in my explorations of Italian cult cinema so I didn’t quite know just how bad these pictures can be in the hands of an untrusted director. There was also the fact that I had seen Cannibal Holocaust beforehand so my expectations for quality cinema may have also tainted my expectations to a degree. Thirdly, I suppose the hype didn’t help things. The movie itself actually starts off by hyping up its own violence with the warning:

”The following feature is one of the most violent films ever made. There are at least two dozen scenes of barbaric torture and sadistic cruelty graphically shown. If the presentation of disgusting and repulsive subject matter upsets you, please do not view this film.”

Hype is always best served by those who aren’t directly linked to a project and while I understand marketing campaigns used to focus entirely on self-appropriated hype back in the Grindhouse days, that introduction is a bit much by anyone’s standards! Going into the movie, listening to its proponents (some of who still swear its the most violent film ever made) and looking at that Banned in 31 Countries blurb on the poster… I can understand hype being a factor. I am not saying that Cannibal Ferox is a walk in the park mind you, not by anyone’s standards. There are a few very gory moments as well as some brutal stock footage of animals slaughtering one another as well as fresh footage of animals being slaughtered by natives. Lenzi did his best to try and one-up Rugero Deodato in terms of graphic content when it comes to animal butchery, but unfortunate for him his violence just doesn’t have the impact. The use of stock footage does keep you guessing during the course of the movie, as you wonder which of these moments did Lenzi shoot himself and which were simply picked out of a vault. Yet, stock footage always takes me out of a movie like this. It reveals the movie magic and dulls the impact of the “fake violence” all the more.

While I still consider Cannibal Ferox to be the corny little brother of Cannibal Holocaust, I do have a much more favorable opinion of it these days. Everything that happens during the jungle segments of this movie is actually quite strong, in my opinion. The drama that is built, the performances and of course the exploitation elements. When the movie makes the jump to New York, things aren’t quite as favorable. Rather than the “Dr. Monroe” situation in New York that we found in Cannibal Holocaust, Lenzi instead focuses on the drug dealing past of Mike and the police investigation (lead by Robert Kerman) around the death of a junkie that Mike used to sell to. This entire sequence could have been scrapped and nothing would have been missed. However we are forced to contend with these strange jumps in quality and tone as we move from the Amazon, with its grueling and bleak world of chaos, to the disco soundtrack world of New York’s criminal underworld. The two soundtracks used for each locale couldn’t be more drastically different and while I understand that Lenzi may have wanted to show how different these worlds were, the music lacks any kind of subtle quality and instead it feels like you are being pelted over the head with a brick.

The theme music in the jungle may lack any kind of subtlety, but it works. It is all doom and gloom, but that is precisely what the movie calls for and it was definitely a great call to use it. The best way to describe it is intense, because the music takes over everything whenever that main theme is played. The cast are actually pretty decent as well. John Morghen as Mike is over the top, but is pitch perfect for what his role called for. Morghen is best known for some his more weaselly roles, but this time out he takes on the authoritative and violent Mike and is very believable. He plays the role in much the same way as a David Hess might and thoroughly commits to being the brutal oaf that we expect from the villain. Lorraine De Salle puts in a good performance as well, although at times she does appear rather lost. I only say this because I have seen her put in much better performances but here she never really gets to shine. In fact, her beauty even seems to be toned down as her appearance is never what I would consider to be attractive. Generally the movie is technically well made as a whole. It looks good, there are some well thought out shots, the gore FX are really great and the acting (outside of the New York sequences, which feature some very dodgy acting by way of the Mafia goon-characters) is pretty strong. What few issues I have with the movie are now relegated to structure and poor choices on behalf of the director.

The Conclusion
The animal violence is going to affect different people in different ways. It is the most offensive thing about these movies after all. If you have a problem with seeing this sort of stuff, then this might not be for you. A pig is stabbed on screen, a large iguana is disemboweled and another large turtle (such as in Cannibal Holocaust) is hacked to bits specifically for this movie. There is also a good deal of stock footage showing snakes, monkeys and a rodent creature being killed by other various animals (as our actors stand on obviously fake “sets” and pretend to watch on… likely tacked on after principal shooting). This sort of stuff can be hard for some people to stand, however I contend that if you have ever seen a deer cleaned or if you’ve ever seen the inner working of a slaughter house then you can handle this. Overall, my feelings haven’t changed in a tremendous way when it comes to Cannibal Ferox. I still think its a weak movie, I still think there are better films out there and I do think Lenzi has done better inside of the genre himself. However, it is a pretty well made movie and far better than my first impressions of it were. I give it a three out of five. It is above average and should probably be seen by anyone with an interest in Italian cult cinema!



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Halloween Horrors #02: Demons

Posted by On October - 6 - 2010



Hey everyone! Although I would love to get a review up for every day of the month, that probably won’t happen due to real life getting in my way. Still, this month will be full of reviews and postings! That is for sure! The second installment of our Halloween Horrors is a review for Lamberto Bava’s Demons! A ridiculous piece of Italian horror that I have some negative history with but have discovered a rather entertaining little film inside! Check out the review now!


The Plot: In West Berlin a man wearing a metallic half-mask approaches random strangers on the streets and in the subway. He is handing out tickets to a special screening of an unknown film at the Metropol theater. Many ultimately show up and this theater seems more than a little bizarre. It is highly decorative and there is even a motorbike in the center lobby holding a mannequin who wears a chrome mask. This mask eventually shows up in the movie that is being premiered. The film in question turns out to be a horror title and takes place around a group of teenagers who find said mask. One of the teens is given a small scratch upon wearing the mask and is transformed into a demonic zombie-like creature. As it turns out, one of the movie-goers in the audience actually tried on the mask while in the lobby and now they are facing the same circumstance as they too were scratched and are slowly turning into one of these creatures of the night. With the doors all mysteriously locked up and with the demonic infection being passed from one person to the next, who will survive this night?



CONTINUE READING THE REVIEW HERE
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Varied Celluloid is a film website intent on delivering views on movies from all genres. Started in 2003, the website has been steadfast in its goal and features a database of over 500 lengthy reviews. If you would like to contact us about writing for the website or sending screeners, please visit the about page located here.

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